Reimag [in] ing the village as a portrait of a nation-state in Uganda:
- Authors: Kakande, Angelo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145642 , vital:38454 , https://doi.org/10.1162/AFAR_a_00343
- Description: In this article I reexamine the ways in which certain contemporary artists based in Uganda problematize the narrative that the ruling National Resistance Movement (the NRM) party is the party of the rural poor (Cheeseman, Lynch, and Willis 2016) in their work while using it as a metaphor to inform their visual expression. I focus on the contest between tradition (imagined as a village) and modernity (imagined as a modern state), as well as the dilemma such a contest causes for a contemporary artist. Cornelius Adepegba (1995) argues that this dilemma influenced the African novel. Agreeing with Adepegba, Freeborn Odiboh (2009) observes that the same dilemma has shaped African visual artists, such as Abayomi Barber, and formal art education institutions like the Barber School in Nigeria; Odiboh then assesses the historical context in which this dilemma evolved as African nationalists struggled to forge postcolonial states based on a national consciousness amid competing ethnic, religious, and ideological interests.
- Full Text:
- Date Issued: 2017
- Authors: Kakande, Angelo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145642 , vital:38454 , https://doi.org/10.1162/AFAR_a_00343
- Description: In this article I reexamine the ways in which certain contemporary artists based in Uganda problematize the narrative that the ruling National Resistance Movement (the NRM) party is the party of the rural poor (Cheeseman, Lynch, and Willis 2016) in their work while using it as a metaphor to inform their visual expression. I focus on the contest between tradition (imagined as a village) and modernity (imagined as a modern state), as well as the dilemma such a contest causes for a contemporary artist. Cornelius Adepegba (1995) argues that this dilemma influenced the African novel. Agreeing with Adepegba, Freeborn Odiboh (2009) observes that the same dilemma has shaped African visual artists, such as Abayomi Barber, and formal art education institutions like the Barber School in Nigeria; Odiboh then assesses the historical context in which this dilemma evolved as African nationalists struggled to forge postcolonial states based on a national consciousness amid competing ethnic, religious, and ideological interests.
- Full Text:
- Date Issued: 2017
Cosmopolitanism and the unfollowable routines and rituals in Ishtiyaq Shukri’s The Silent Minaret:
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142531 , vital:38088 , DOI: 10.1080/02564718.2017.1290382
- Description: This article explores how Ishtiyaq Shukri’s The Silent Minaret critiques the limited and severely uneven forms of hospitality that characterise post-9/11 Britain. It also examines how the text gestures towards the possibility of a non-violent, inclusive cosmopolitanism. The piece begins by relating recent debates surrounding the “War on Terror”, as well as Britain’s decision to leave the European Union to the novel’s major concerns. It then turns to the novel, and summarises incidents in which the principal character, Issa Shamshuddin, is traumatised and harmed by the Islamophobia and anti-immigration policies evident in the London portrayed in the text. Next, it turns to an analysis of the strange and irreproducible rituals of Issa’s neighbour, Frances. The article concludes that that these unfollowable rituals posit how a truly cosmopolitan society would function.
- Full Text:
- Date Issued: 2017
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142531 , vital:38088 , DOI: 10.1080/02564718.2017.1290382
- Description: This article explores how Ishtiyaq Shukri’s The Silent Minaret critiques the limited and severely uneven forms of hospitality that characterise post-9/11 Britain. It also examines how the text gestures towards the possibility of a non-violent, inclusive cosmopolitanism. The piece begins by relating recent debates surrounding the “War on Terror”, as well as Britain’s decision to leave the European Union to the novel’s major concerns. It then turns to the novel, and summarises incidents in which the principal character, Issa Shamshuddin, is traumatised and harmed by the Islamophobia and anti-immigration policies evident in the London portrayed in the text. Next, it turns to an analysis of the strange and irreproducible rituals of Issa’s neighbour, Frances. The article concludes that that these unfollowable rituals posit how a truly cosmopolitan society would function.
- Full Text:
- Date Issued: 2017
Looking underneath: deconstruction in Hogarth's Industry and Idleness
- Authors: Herbst, Michael
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147803 , vital:38674 , https://doi.org/10.1080/00043389.2003.11877010
- Description: In Hogarth's engraved series Industry and Idleness two young men from lower-class backgrounds are apprenticed to Mr West, a weaver. The first plate (1) lays bare the two apprentices' marked difference in temperament: Francis Goodchild works contentedly at his well-lit loom with his 'Prentice's Guide- a standard manual of instruction and advice for London apprentices in various trades - open on the floor below him. In the gloomy foreground Thomas Idle snores crassly at his loom, oblivious of his 'Prentice's Guide, which has apparently been reduced to tatters by the cat that now toys with the abandoned shuttle.
- Full Text:
- Date Issued: 2017
- Authors: Herbst, Michael
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147803 , vital:38674 , https://doi.org/10.1080/00043389.2003.11877010
- Description: In Hogarth's engraved series Industry and Idleness two young men from lower-class backgrounds are apprenticed to Mr West, a weaver. The first plate (1) lays bare the two apprentices' marked difference in temperament: Francis Goodchild works contentedly at his well-lit loom with his 'Prentice's Guide- a standard manual of instruction and advice for London apprentices in various trades - open on the floor below him. In the gloomy foreground Thomas Idle snores crassly at his loom, oblivious of his 'Prentice's Guide, which has apparently been reduced to tatters by the cat that now toys with the abandoned shuttle.
- Full Text:
- Date Issued: 2017
Alex Baine's women's emancipation in Uganda: a visual archive of the history of a new generation of women in Uganda
- Authors: Tumusiime, Amanda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145631 , vital:38453 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00344
- Description: Alex Baine is a contemporary Ugandan woman artist who graduated from the Margaret Trowell School of Industrial and Fine Art (or MTSIFA) in 1989. During her final year, she painted a large work, Women's Emancipation in Uganda (Fig. 1) (1989), in which she represented women in domestic and nondomestic (conventional and unconventional) economies, spaces, and histories. Baine has not produced any other painting since her graduation. It is evident that Baine's art career, like those of several other female graduates of the Art School, has been interrupted by many issues including family, business, further education, and diversion into other professions. However, in this article I acknowledge that she championed women's emancipation in Uganda's contemporary art in the 1980s, a debate that I trace in her work.
- Full Text:
- Date Issued: 2017
- Authors: Tumusiime, Amanda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145631 , vital:38453 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00344
- Description: Alex Baine is a contemporary Ugandan woman artist who graduated from the Margaret Trowell School of Industrial and Fine Art (or MTSIFA) in 1989. During her final year, she painted a large work, Women's Emancipation in Uganda (Fig. 1) (1989), in which she represented women in domestic and nondomestic (conventional and unconventional) economies, spaces, and histories. Baine has not produced any other painting since her graduation. It is evident that Baine's art career, like those of several other female graduates of the Art School, has been interrupted by many issues including family, business, further education, and diversion into other professions. However, in this article I acknowledge that she championed women's emancipation in Uganda's contemporary art in the 1980s, a debate that I trace in her work.
- Full Text:
- Date Issued: 2017
Comprehensive kinetic analysis of thermoluminescence peaks of α-Al2O3: C, Mg
- Kalita, Jitumani M, Chithambo, Makaiko L
- Authors: Kalita, Jitumani M , Chithambo, Makaiko L
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/116142 , vital:34323 , https://doi.org/10.1016/j.jlumin.2017.01.003
- Description: A comprehensive kinetic analysis of the glow peaks in α-Al2O3:C,Mg is reported. A thermoluminescence glow curve measured at 1 °C/s after beta irradiation to 1 Gy shows a high intensity peak hereafter referred to as the main peak at 161 °C and six lower intensity secondary peaks at 42, 72, 193, 279, 330, 370 °C respectively. For ease of reference, the secondary peaks are labelled as I, II, IV, V, VI and VII respectively and the main peak denoted peak III. Kinetic analysis of the glow peaks has been carried out using the initial rise, whole glow peak, peak shape, variable heating rate and glow curve deconvolution methods as well as by way of phosphorescence. Using Tm-Tstop, Tm-dose and phosphorescence analyses, the order of kinetics of the peaks has been evaluated as first order. Analysis by the peak shape, whole glow peak and deconvolution methods produce the same conclusion. The activation energy of peaks I through VII are calculated as ~0.83, 0.96, 1.37, 1.20, 1.15, 1.61 and 1.94 eV respectively. The frequency factors for all the peaks are of the order of 109 to 1014 s−1. The question of thermal quenching affecting the peaks was considered. The peaks III, IV and V, the only ones that could be conveniently studied in this regard, were found to be affected by thermal quenching. The activation energy for thermal quenching was calculated for peak III as 0.96±0.03 eV, for peak VI as 0.95±0.07 eV and for peak V as 1.26±0.08 eV. The thermal quenching phenomenon has been discussed with reference to F+ and F centres. An energy band model has been developed to discuss the luminescence mechanisms in α-Al2O3:C,Mg in light of finding in this work.
- Full Text: false
- Date Issued: 2017
- Authors: Kalita, Jitumani M , Chithambo, Makaiko L
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/116142 , vital:34323 , https://doi.org/10.1016/j.jlumin.2017.01.003
- Description: A comprehensive kinetic analysis of the glow peaks in α-Al2O3:C,Mg is reported. A thermoluminescence glow curve measured at 1 °C/s after beta irradiation to 1 Gy shows a high intensity peak hereafter referred to as the main peak at 161 °C and six lower intensity secondary peaks at 42, 72, 193, 279, 330, 370 °C respectively. For ease of reference, the secondary peaks are labelled as I, II, IV, V, VI and VII respectively and the main peak denoted peak III. Kinetic analysis of the glow peaks has been carried out using the initial rise, whole glow peak, peak shape, variable heating rate and glow curve deconvolution methods as well as by way of phosphorescence. Using Tm-Tstop, Tm-dose and phosphorescence analyses, the order of kinetics of the peaks has been evaluated as first order. Analysis by the peak shape, whole glow peak and deconvolution methods produce the same conclusion. The activation energy of peaks I through VII are calculated as ~0.83, 0.96, 1.37, 1.20, 1.15, 1.61 and 1.94 eV respectively. The frequency factors for all the peaks are of the order of 109 to 1014 s−1. The question of thermal quenching affecting the peaks was considered. The peaks III, IV and V, the only ones that could be conveniently studied in this regard, were found to be affected by thermal quenching. The activation energy for thermal quenching was calculated for peak III as 0.96±0.03 eV, for peak VI as 0.95±0.07 eV and for peak V as 1.26±0.08 eV. The thermal quenching phenomenon has been discussed with reference to F+ and F centres. An energy band model has been developed to discuss the luminescence mechanisms in α-Al2O3:C,Mg in light of finding in this work.
- Full Text: false
- Date Issued: 2017
Reaching sideways, writing our ways: the orientation of the arts of Africa discourse
- Simbao, Ruth K, Miko, William B, Ijisakin, Eyitayo T, Tchibozo, Romuald, Hwati, Masimba, NG-Yang, Kristin, Mudekereza, Patrick, Nalubowa, Aidah, Hyacinthe. Genevieve, Jason, Lee-Roy, Abdou, Eman, Chachage, Rehema, Tumusiime, Amanda, Sousa, Suzana, Muchemwa, Fadzai
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
The‘person without the person’ in the early work of Paul Emmanuel:
- Authors: Bronner, Irene
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147737 , vital:38666 , https://doi.org/10.1080/00043389.2012.11877161
- Description: Paul Emmanuel’s early prints and incised drawings represent the human body as a presence that either is not easily seen, actively disappears or erases itself, or is entirely absent. In doing so, these still life and landscape works metaphorically explore inner, psychological ‘landscapes’, both conscious and unconscious. By drawing deliberate attention to his oblique and deceptive surfaces, Emmanuel’s process, medium and subject matter may be said to express subjectivity as a process of materialisation, as formed through the contingencies and inconsistencies of vision, experience and memory. To ‘see’ this process, and to understand what Emmanuel means by ‘seeing and not seeing’, I consider two strategies that Emmanuel arguably employs to disrupt viewing: partial, fragmented and multiple perspectives and empty clothing abandoned in landscapes.
- Full Text:
- Date Issued: 2017
- Authors: Bronner, Irene
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147737 , vital:38666 , https://doi.org/10.1080/00043389.2012.11877161
- Description: Paul Emmanuel’s early prints and incised drawings represent the human body as a presence that either is not easily seen, actively disappears or erases itself, or is entirely absent. In doing so, these still life and landscape works metaphorically explore inner, psychological ‘landscapes’, both conscious and unconscious. By drawing deliberate attention to his oblique and deceptive surfaces, Emmanuel’s process, medium and subject matter may be said to express subjectivity as a process of materialisation, as formed through the contingencies and inconsistencies of vision, experience and memory. To ‘see’ this process, and to understand what Emmanuel means by ‘seeing and not seeing’, I consider two strategies that Emmanuel arguably employs to disrupt viewing: partial, fragmented and multiple perspectives and empty clothing abandoned in landscapes.
- Full Text:
- Date Issued: 2017
A dynamic approach to assess the International Criminal Court's performance in the Kenya cases
- Juma, Laurence, Khamala, C A
- Authors: Juma, Laurence , Khamala, C A
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/125241 , vital:35749 , https://hdl.handle.net/10520/EJC-e9dcefddf
- Description: Victims of crimes against humanity perpetrated during Kenya’s post-2007 conflicts may feel aggrieved by the International Criminal Court’s discontinuance of all Kenya cases without having found the suspects either culpable or non-culpable. Neither did the suspects benefit from acquittals. Unprecedentedly, Ruto and Sang’s charges were vacated at half-time. Cases against other suspects were withdrawn. Given the circumstances which led to the ICC’s intervention in the Kenyan situation, this paper argues that in lieu of either quantitative or qualitative studies, arguments of various proxy approaches for evaluating judicial performance, are problematic. Neither judicial independence, rule-compliance, community of purpose, nor even institutional design, adequately measure judicial performance. Besides interrogating limitations of using such proxies, the paper appraises the merits of constructing a modified version of the goal-based approach. It will demonstrate that by incorporating both process-oriented as well as strategic constituency models, a more dynamic evaluative methodology can be developed for measuring the ICC’s performance in the Kenya cases.
- Full Text: false
- Date Issued: 2017
- Authors: Juma, Laurence , Khamala, C A
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/125241 , vital:35749 , https://hdl.handle.net/10520/EJC-e9dcefddf
- Description: Victims of crimes against humanity perpetrated during Kenya’s post-2007 conflicts may feel aggrieved by the International Criminal Court’s discontinuance of all Kenya cases without having found the suspects either culpable or non-culpable. Neither did the suspects benefit from acquittals. Unprecedentedly, Ruto and Sang’s charges were vacated at half-time. Cases against other suspects were withdrawn. Given the circumstances which led to the ICC’s intervention in the Kenyan situation, this paper argues that in lieu of either quantitative or qualitative studies, arguments of various proxy approaches for evaluating judicial performance, are problematic. Neither judicial independence, rule-compliance, community of purpose, nor even institutional design, adequately measure judicial performance. Besides interrogating limitations of using such proxies, the paper appraises the merits of constructing a modified version of the goal-based approach. It will demonstrate that by incorporating both process-oriented as well as strategic constituency models, a more dynamic evaluative methodology can be developed for measuring the ICC’s performance in the Kenya cases.
- Full Text: false
- Date Issued: 2017
“[A] ll just surface and veneer”: the challenge of seeing and reading in Ishtiyaq Shukri’s I See You
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142577 , vital:38092 , DOI: 10.1080/17533171.2017.1312749
- Description: This article considers challenges posed to reading practices and hermeneutics by Ishtiyaq Shukri’s I See You. The content of the novel is at times didactic, and surface reading might seem an appropriate means of analysis, yet the form is experimental: it includes radio reports, characters’ reflections and journalistic work. The connection between these “documents” is not readily apparent, thus one is obliged to study the gaps between them to make sense of the text. Symptomatic reading might seem apposite, but the protagonist’s photographic work reveals the limits of this form of reading, too. I argue that Shukri’s text demands a process that interweaves symptomatic and surface reading in complex ways that require the reader to assess the ideological position from which s/he reads. The novel therefore draws attention to the ways in which reading, like seeing, is a political act.
- Full Text:
- Date Issued: 2017
“[A] ll just surface and veneer”: the challenge of seeing and reading in Ishtiyaq Shukri’s I See You
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142577 , vital:38092 , DOI: 10.1080/17533171.2017.1312749
- Description: This article considers challenges posed to reading practices and hermeneutics by Ishtiyaq Shukri’s I See You. The content of the novel is at times didactic, and surface reading might seem an appropriate means of analysis, yet the form is experimental: it includes radio reports, characters’ reflections and journalistic work. The connection between these “documents” is not readily apparent, thus one is obliged to study the gaps between them to make sense of the text. Symptomatic reading might seem apposite, but the protagonist’s photographic work reveals the limits of this form of reading, too. I argue that Shukri’s text demands a process that interweaves symptomatic and surface reading in complex ways that require the reader to assess the ideological position from which s/he reads. The novel therefore draws attention to the ways in which reading, like seeing, is a political act.
- Full Text:
- Date Issued: 2017
Situating Africa: an alter-geopolitics of knowledge, or Chapungu rises
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146112 , vital:38496 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00340
- Description: This journal issue marks the beginning of a new partnership with African Arts as Rhodes University in Grahamstown, South Africa, joins the editorial consortium. As the National Research Foundation Chair in Geopolitics and the Arts of Africa, I will work with collaborators based largely on the African continent to produce one issue of African Arts per year. This first issue has grown out of conversations with artists, curators, and writers based in Uganda, Zimbabwe, and South Africa at a publishing workshop organized by Rhodes University, as well as an institutional collaboration with Makerere University in Uganda. It also includes a dialogue with colleagues in Tanzania, Zambia, Nigeria, Egypt, South Africa, Benin, the Democratic Republic of Congo, Zimbabwe, the US, Uganda, and Angola/Portugal. A core goal of our work is to significantly increase the participation of authors based on the African continent as a way of strengthening our discipline with a scholarly approach that takes seriously an alter-geopolitics of knowledge as a decolonial concept (Koopman 2011; Mignolo 2002).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146112 , vital:38496 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00340
- Description: This journal issue marks the beginning of a new partnership with African Arts as Rhodes University in Grahamstown, South Africa, joins the editorial consortium. As the National Research Foundation Chair in Geopolitics and the Arts of Africa, I will work with collaborators based largely on the African continent to produce one issue of African Arts per year. This first issue has grown out of conversations with artists, curators, and writers based in Uganda, Zimbabwe, and South Africa at a publishing workshop organized by Rhodes University, as well as an institutional collaboration with Makerere University in Uganda. It also includes a dialogue with colleagues in Tanzania, Zambia, Nigeria, Egypt, South Africa, Benin, the Democratic Republic of Congo, Zimbabwe, the US, Uganda, and Angola/Portugal. A core goal of our work is to significantly increase the participation of authors based on the African continent as a way of strengthening our discipline with a scholarly approach that takes seriously an alter-geopolitics of knowledge as a decolonial concept (Koopman 2011; Mignolo 2002).
- Full Text:
- Date Issued: 2017
Suspense, the serious and the superman:
- Authors: Western, Rat
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147726 , vital:38664 , https://doi.org/10.1080/00043389.2012.11877164
- Description: When considering what to do with one’s Friday night, probably very few people would consider a two-hour formal lecture a top priority. But this is a Friday night in Grahamstown, where novelty in leisure and entertainment choices, outside of festival time, is a rarity. It is therefore unsurprising that, on the evening of 11 November 2011, the Rhodes Box Theatre is packed by 7 pm with a variety of students, academics, members of the local alternative scene and the general public.
- Full Text:
- Date Issued: 2017
- Authors: Western, Rat
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147726 , vital:38664 , https://doi.org/10.1080/00043389.2012.11877164
- Description: When considering what to do with one’s Friday night, probably very few people would consider a two-hour formal lecture a top priority. But this is a Friday night in Grahamstown, where novelty in leisure and entertainment choices, outside of festival time, is a rarity. It is therefore unsurprising that, on the evening of 11 November 2011, the Rhodes Box Theatre is packed by 7 pm with a variety of students, academics, members of the local alternative scene and the general public.
- Full Text:
- Date Issued: 2017
Figuring maternity: Christine Dixie's Parturient Prospects
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147748 , vital:38667 , https://doi.org/10.1080/00043389.2007.11877068
- Description: The Interior, Birthing Tray and Parturition are three sub-sections of a project entitled Parturient Prospects that artist Christine Dixie began in 2005, when she was pregnant with her second child, and completed by the end of 2006. In Parturient Prospects, the author reveals, Dixie situates her experiences against Western discourses, especially images from early modern Europe. Focusing on the ways in which visual representations construct woman as ‘other’, Dixie invokes reference to not only representations of birth and maternity but also religious, medical and geographical images.
- Full Text:
- Date Issued: 2017
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147748 , vital:38667 , https://doi.org/10.1080/00043389.2007.11877068
- Description: The Interior, Birthing Tray and Parturition are three sub-sections of a project entitled Parturient Prospects that artist Christine Dixie began in 2005, when she was pregnant with her second child, and completed by the end of 2006. In Parturient Prospects, the author reveals, Dixie situates her experiences against Western discourses, especially images from early modern Europe. Focusing on the ways in which visual representations construct woman as ‘other’, Dixie invokes reference to not only representations of birth and maternity but also religious, medical and geographical images.
- Full Text:
- Date Issued: 2017
Multiple drivers of local (non-) compliance in community-cased marine resource management: case studies from the South Pacific
- Rohe, Janne R, Aswani, Shankar, Schlüter, Achim, Ferse, Sebastian C A
- Authors: Rohe, Janne R , Aswani, Shankar , Schlüter, Achim , Ferse, Sebastian C A
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/70571 , vital:29676 , https://doi.org/10.3389/fmars.2017.00172
- Description: The outcomes of marine conservation and related management interventions depend to a large extent on people's compliance with these rule systems. In the South Pacific, community-based marine resource management (CBMRM) has gained wide recognition as a strategy for the sustainable management of marine resources. In current practice, CBMRM initiatives often build upon customary forms of marine governance, integrating scientific advice and management principles in collaboration with external partners. However, diverse socio-economic developments as well as limited legal mandates can challenge these approaches. Compliance with and effective (legally-backed) enforcement of local management strategies constitute a growing challenge for communities—often resulting in considerable impact on the success or failure of CBMRM. Marine management arrangements are highly dynamic over time, and similarly compliance with rule systems tends to change depending on context. Understanding the factors contributing to (non-) compliance in a given setting is key to the design and function of adaptive management approaches. Yet, few empirical studies have looked in depth into the dynamics around local (non-) compliance with local marine tenure rules under the transforming management arrangements. Using two case studies from Solomon Islands and Fiji, we investigate what drives local (non-) compliance with CBMRM and what hinders or supports its effective enforcement. The case studies reveal that non-compliance is mainly driven by: (1) diminishing perceived legitimacy of local rules and rule-makers; (2) increased incentives to break rules due to market access and/ or lack of alternative income; and (3) relatively weak enforcement of local rules (i.e., low perceptions of risk from sanctions for rule-breaking). These drivers do not stand alone but can act together and add up to impair effective management. We further analyze how enforcement of CBMRM is challenged through a range of institutional; socio-cultural and technical/financial constraints, which are in parts a result of the dynamism and ongoing transformations of management arrangements. Our study underlines the importance of better understanding and contextualizing marine resource management processes under dynamic conditions for an improved understanding of compliance in a particular setting.
- Full Text:
- Date Issued: 2016
- Authors: Rohe, Janne R , Aswani, Shankar , Schlüter, Achim , Ferse, Sebastian C A
- Date: 2016
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/70571 , vital:29676 , https://doi.org/10.3389/fmars.2017.00172
- Description: The outcomes of marine conservation and related management interventions depend to a large extent on people's compliance with these rule systems. In the South Pacific, community-based marine resource management (CBMRM) has gained wide recognition as a strategy for the sustainable management of marine resources. In current practice, CBMRM initiatives often build upon customary forms of marine governance, integrating scientific advice and management principles in collaboration with external partners. However, diverse socio-economic developments as well as limited legal mandates can challenge these approaches. Compliance with and effective (legally-backed) enforcement of local management strategies constitute a growing challenge for communities—often resulting in considerable impact on the success or failure of CBMRM. Marine management arrangements are highly dynamic over time, and similarly compliance with rule systems tends to change depending on context. Understanding the factors contributing to (non-) compliance in a given setting is key to the design and function of adaptive management approaches. Yet, few empirical studies have looked in depth into the dynamics around local (non-) compliance with local marine tenure rules under the transforming management arrangements. Using two case studies from Solomon Islands and Fiji, we investigate what drives local (non-) compliance with CBMRM and what hinders or supports its effective enforcement. The case studies reveal that non-compliance is mainly driven by: (1) diminishing perceived legitimacy of local rules and rule-makers; (2) increased incentives to break rules due to market access and/ or lack of alternative income; and (3) relatively weak enforcement of local rules (i.e., low perceptions of risk from sanctions for rule-breaking). These drivers do not stand alone but can act together and add up to impair effective management. We further analyze how enforcement of CBMRM is challenged through a range of institutional; socio-cultural and technical/financial constraints, which are in parts a result of the dynamism and ongoing transformations of management arrangements. Our study underlines the importance of better understanding and contextualizing marine resource management processes under dynamic conditions for an improved understanding of compliance in a particular setting.
- Full Text:
- Date Issued: 2016
'She travels alone and unattended’: the visit to the Eastern Cape of the botanical artist, Marianne North
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147759 , vital:38668 , https://doi.org/10.1080/00043389.2007.11877077
- Description: The visit of the botanical artist, Marianne North, to South Africa during 1882 to 1883, although frequently referred to, has not received much close attention; nor has her account of the visit, in her ‘Recollections of a happy’ life, been set against the actual conditions she would have encountered. This paper attempts to flesh out at least part of that visit, specifically the weeks she spent in the Eastern Cape Colony and, more particularly, her visits to Port Elizabeth, Grahamstown and Port Alfred. What were these three centres like at the time? Who were the people she mentions? Where did she stay? How do her observations tally with other accounts of the period?.
- Full Text:
- Date Issued: 2017
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147759 , vital:38668 , https://doi.org/10.1080/00043389.2007.11877077
- Description: The visit of the botanical artist, Marianne North, to South Africa during 1882 to 1883, although frequently referred to, has not received much close attention; nor has her account of the visit, in her ‘Recollections of a happy’ life, been set against the actual conditions she would have encountered. This paper attempts to flesh out at least part of that visit, specifically the weeks she spent in the Eastern Cape Colony and, more particularly, her visits to Port Elizabeth, Grahamstown and Port Alfred. What were these three centres like at the time? Who were the people she mentions? Where did she stay? How do her observations tally with other accounts of the period?.
- Full Text:
- Date Issued: 2017
Reimagining our missing histories: Eria Nsubuga SANE and Sikhumbuzo Makandula in conversational partnership
- Makandula, Sikhumbuzo, Nsubuga, Eria
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
Aporias of Rock Art interpretation: advancing a phenomenological reading
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
From Baudelaire to Beardsley: some thoughts on Poe's beast as an indicator of the tastes and fears of nineteenth-century Europe
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147781 , vital:38672 , https://doi.org/10.1080/00043389.2001.11876980
- Description: Charles Baudelaire (1821 1867) was one of the major influences on the French Decadent poets of the late nineteenth century whose aesthetic principles were shared, to a large extent, by a group of English poets and artists, among whom was Aubrey Beardsley (1872 1898). One of the major influences on Baude laire had been the American, Edgar Allan Poe (1809 1849), in whose short stories and poems Baudelaire had recognised a kindred spirit. Some intriguing aspects of changing nine teenth century attitudes emerge from a study of Baudelaire's 1856 translation of Poe's `The Murders in the Rue Morgue' and Beardsley's 1893 illustration to this story.
- Full Text:
- Date Issued: 2017
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147781 , vital:38672 , https://doi.org/10.1080/00043389.2001.11876980
- Description: Charles Baudelaire (1821 1867) was one of the major influences on the French Decadent poets of the late nineteenth century whose aesthetic principles were shared, to a large extent, by a group of English poets and artists, among whom was Aubrey Beardsley (1872 1898). One of the major influences on Baude laire had been the American, Edgar Allan Poe (1809 1849), in whose short stories and poems Baudelaire had recognised a kindred spirit. Some intriguing aspects of changing nine teenth century attitudes emerge from a study of Baudelaire's 1856 translation of Poe's `The Murders in the Rue Morgue' and Beardsley's 1893 illustration to this story.
- Full Text:
- Date Issued: 2017
Kinetic analysis and general features of thermoluminescence of B2O3-Li2O-ZnF2 glass
- Thomas, Sunil, Chithambo, Makaiko L
- Authors: Thomas, Sunil , Chithambo, Makaiko L
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/116154 , vital:34324 , https://doi.org/10.1016/j.radmeas.2017.03.038
- Description: The intention of this study is to explore the thermoluminescence of beta irradiated B2O3-Li2O-ZnF2 glass. The glow-curve corresponding to 200 Gy shows three peaks; two weak-intensity peaks at 60 and 243 °C and a more prominent one at 118 °C, when measured at 1 °C/s. The dose response of the main peak at 118 °C was found to be sublinear in the range 200–1000 Gy. Regarding the kinetic analysis of the main peak, the activation energy of the corresponding electron trap was evaluated as 0.96 eV and the frequency factor as ∼1011 s−1. It is proposed that the thermoluminescence in B2O3-Li2O-ZnF2 glass is due to recombination of electrons, thermally released from Zn+ ionic defect sites, with the holes at boron-oxygen hole centres.
- Full Text: false
- Date Issued: 2017
- Authors: Thomas, Sunil , Chithambo, Makaiko L
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/116154 , vital:34324 , https://doi.org/10.1016/j.radmeas.2017.03.038
- Description: The intention of this study is to explore the thermoluminescence of beta irradiated B2O3-Li2O-ZnF2 glass. The glow-curve corresponding to 200 Gy shows three peaks; two weak-intensity peaks at 60 and 243 °C and a more prominent one at 118 °C, when measured at 1 °C/s. The dose response of the main peak at 118 °C was found to be sublinear in the range 200–1000 Gy. Regarding the kinetic analysis of the main peak, the activation energy of the corresponding electron trap was evaluated as 0.96 eV and the frequency factor as ∼1011 s−1. It is proposed that the thermoluminescence in B2O3-Li2O-ZnF2 glass is due to recombination of electrons, thermally released from Zn+ ionic defect sites, with the holes at boron-oxygen hole centres.
- Full Text: false
- Date Issued: 2017
Between a cushion and a risky conversation: ARTS LOUNGE reviewed
- Authors: Baasch, Rachel M
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147703 , vital:38662 , https://doi.org/10.1080/00043389.2011.11877155
- Description: On the fringe of the National Arts Festival, at a point of transition between Rhodes University campus and the commercial side of Grahamstown, the walls of a former home and former horse-stable, now a research house, reverberate with the strain of cross-disciplinary, site-specific collaboration. The ARTS LOUNGE made its first official appearance at the Grahamstown National Arts Festival (ViPPA Research Center, Rhodes University) from 30 June to 9 July 2011. The ten-day event was organised by the Visual and Performing Arts of Africa Research (ViPPA) team in collaboration with musicians, artists, writers, performers and members of the public.
- Full Text:
- Date Issued: 2017
- Authors: Baasch, Rachel M
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147703 , vital:38662 , https://doi.org/10.1080/00043389.2011.11877155
- Description: On the fringe of the National Arts Festival, at a point of transition between Rhodes University campus and the commercial side of Grahamstown, the walls of a former home and former horse-stable, now a research house, reverberate with the strain of cross-disciplinary, site-specific collaboration. The ARTS LOUNGE made its first official appearance at the Grahamstown National Arts Festival (ViPPA Research Center, Rhodes University) from 30 June to 9 July 2011. The ten-day event was organised by the Visual and Performing Arts of Africa Research (ViPPA) team in collaboration with musicians, artists, writers, performers and members of the public.
- Full Text:
- Date Issued: 2017
Perturbation–Response Scanning reveals key residues for Allosteric Control in Hsp70:
- Penkler, David L, Sensoy, Özge, Atilgan, Canan, Tastan Bishop, Özlem
- Authors: Penkler, David L , Sensoy, Özge , Atilgan, Canan , Tastan Bishop, Özlem
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/148195 , vital:38718 , DOI: 10.1021/acs.jcim.6b00775
- Description: Hsp70 molecular chaperones play an important role in maintaining cellular homeostasis, and are implicated in a wide array of cellular processes, including protein recovery from aggregates, cross-membrane protein translocation, and protein biogenesis. Hsp70 consists of two domains, a nucleotide binding domain (NBD) and a substrate binding domain (SBD), each of which communicates via an allosteric mechanism such that the protein interconverts between two functional states, an ATP-bound open conformation and an ADP-bound closed conformation. The exact mechanism for interstate conversion is not as yet fully understood. However, the ligand-bound states of the NBD and SBD as well as interactions with cochaperones such as DnaJ and nucleotide exchange factor are thought to play crucial regulatory roles. In this study, we apply the perturbation–response scanning (PRS) method in combination with molecular dynamics simulations as a computational tool for the identification of allosteric hot residues in the large multidomain Hsp70 protein.
- Full Text:
- Date Issued: 2017
- Authors: Penkler, David L , Sensoy, Özge , Atilgan, Canan , Tastan Bishop, Özlem
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/148195 , vital:38718 , DOI: 10.1021/acs.jcim.6b00775
- Description: Hsp70 molecular chaperones play an important role in maintaining cellular homeostasis, and are implicated in a wide array of cellular processes, including protein recovery from aggregates, cross-membrane protein translocation, and protein biogenesis. Hsp70 consists of two domains, a nucleotide binding domain (NBD) and a substrate binding domain (SBD), each of which communicates via an allosteric mechanism such that the protein interconverts between two functional states, an ATP-bound open conformation and an ADP-bound closed conformation. The exact mechanism for interstate conversion is not as yet fully understood. However, the ligand-bound states of the NBD and SBD as well as interactions with cochaperones such as DnaJ and nucleotide exchange factor are thought to play crucial regulatory roles. In this study, we apply the perturbation–response scanning (PRS) method in combination with molecular dynamics simulations as a computational tool for the identification of allosteric hot residues in the large multidomain Hsp70 protein.
- Full Text:
- Date Issued: 2017